Listening Journal #6

The 70s were a decade of variety. A plethora of styles flooded the market both because of increased experimentation and marketing designed to target a number of audiences. During this time both AM and FM radio stations played varied music. My band colleague, who was a young man during the 70s, mentioned how the radio seemed very different than it is today. If you didn't like a particular song being played, simply move the dial and you were sure to find something different that appealed to your musical tastes.

Motown experienced great commercial success in the 60s and that continued into the 70s with the Jackson Five, Stevie Wonder, and others. Wonder, in particular, was heavily involved with Motown in the 60s as a teenager. In 1971 he negotiated a new contract with Motown at the age of 21 that allowed him full artistic freedom. The result was a string of hits. Stevie Wonder utilized modern recording techniques such as overdubbing to create songs like Superstition. On the recording, Wonder actually plays most of the instrumental parts (owing to his multi-instrumental talent and desire for control). The song uses many influences from the African tradition including repeated ostinatos and syncopation. Much of his style in Superstition is influenced by James Brown's sound from the late 60s. The "hook" synthesizer sound is immediately recognizable and comes back in all of the verses. The horn parts join midway through the verse to add intensity and play off the synth ostinato. The overall structure is reminiscent of the 12 bar blues with an extension in the verse with the repeated ostinato. The "chorus" functions much like the turnaround section of a 12 bar blues. Stevie Wonder's layering of the various horn riffs at the end is another example of clever recording. Along with James Brown, Stevie Wonder's style showcased in Superstition helped lead the way for later Funk music with it's driving rhythm, repeated ostinatos, and reliance on rhythmic complexity.

At the same time that Stevie Wonder was helping to pioneer funk music, bands like Led Zeppelin were developing rock music into a live performance and album driven style aimed mostly at young, white, males. Led Zeppelin was an eclectic band that specialized in uber-loud rock music, but were equally at home playing acoustic ballads. In fact, though Led Zeppelin is considered the pioneers of heavy metal, they were extremely eclectic in their style. Within this one song, Led Zeppelin actually blended their heavy rock sound with folk music inspired by English and Celtic mythology.

The opening guitar progression is at once recognizable. For some, the opening "hook" is TOO recognizable.

The lyrics create a quasi-spiritual experience influenced by Celtic mysticism which certainly appealed to young, white males. The opening guitar line accompanied by recorder also helps to create the mystic character of Stairway to Heaven The form is incredibly complex with a number of varying sections. The overall feel of the song is one of constant building including musical density, volume, and tempo.

While a great number of 70s rock groups appealed to young, white males, there still existed rock groups who had a more multicultural influence. Santana's Oye Como Va is a cover of a Tito Puente song. In listening to the song, one can hear influences of both the Latin tradition and experimental jazz. The song starts with ostinatos from the ever popular hammond B3 organ, bass,  and latin percussion. Santana enters with his unique guitar tone. The lyrics are of secondary importance as the track mostly acts as a vehicle for improvised solos by guitar and organ. One can imagine that a live performance of Oye Como Va would have considerable length added with solos similar to bands like the Grateful Dead, Allman Brothers, and others. Like Stairway to Heaven, the song builds with intensity, but moments of "breakdown" remind the listener of the importance of the Latin rhythm section.

Many of the 70s hits (particularly later in the decade) are Disco songs. However, Good Times owes it's particular style to both disco and funk. In many ways, disco developed out of the rhythmic drive and heavy beat of funk music. Good Times also lends it's sound to disco with the syncopated guitar playing of Nile Rodgers. Combined with the funk bass line Bernard Edwards and drumming of Tony Thompson, the rhythm section creates a groove that is perfect for dancing. Once again, the lyrics are of secondary importance. Of particular importance is the bass line that directly influenced songs like Another One Bites The Dust  and bands like INXS, and the song itself was sampled in the song Rapper's Delight.
(watch 34:22)

In a way somewhat similar to funk and disco of the time, The Talking Heads' Psycho Killer begins with an insistent drum and bass pulse. The two guitar parts join soon after have a complex interlocking pattern. At this point, the song departs the feel of the light, easy dance music of the 70s. The lyrics of Psycho Killer are disturbing and sung in a schizophrenic manner. The song is especially disturbing given the "Son of Sam" killing spree taking place the year of the song's release. The simplicity of the parts show the minimalist tendencies of punk music, and the recording quality is reminiscent of garage bands of the time rather than the highly produced music of the psychedelic era or even Stevie Wonder's multi-tracking and overdubbing of the early 70s. The song devolves into a deranged, distorted guitar solo that conjures up images of psychosis with strange microphone sounds and almost inaudible vocal utterances. A song like Psycho Killer has less to do with the guitar bravado or over-processed music that we usually consider 80s popular music than it is related to grunge music like Smells Like Teen Spirit.